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It's what's happening. Scarica Gratis la Guida di Viaggio Valencia. The following passage, gives us an idea of the way the first antiquarians were seen in those times: The intellectual movement in Rome, invited not only other Italians from Florence or Siena but also learned men from the rest of Europe to visit the Antique Monuments.

The mobility that characterizes the more educated members of 17th and 18th century society contributes to the amplification of the interest in Heritage, and in their itineraries, Greece and Egypt begin to appear as a destiny along with Rome. Antiquaries, in contrast to the Humanists, did not trust the texts, and promoted direct observation to find out about the past Choay: From this instance, the necessity of Drawing will impose, because if a coin is drawn, it will talk directly to another observer instead of being verbally described.

The difference between an antiquarian and a learned man of the 18th century is difficult to elucidate as the education and the kind of circulation of knowledge from this period would create a potential antiquarian. The discovery in this century of some great archaeological sites in Italy: Herculaneum in , Paestum in and Pompeii in contributed to the enrichment of the field, and invited excavation.

Nevertheless, the need to explore the home countries, affirming independence from the Italian supremacy in terms of Classical Architecture, is exemplified across Europe. Even if in the early phase of Antiquarianism the interpretation of Prehistoric Monuments is seen imbedded with Myth and Fantasy. All images In Michell: In England we can even say that the classical style in architecture never imposed itself exceptions made to few architects like Jones and the one that restored St.

Allegory to Heritage: Following the shift of the centre of artistic production from Rome to Paris, the Past is left behind in Italy, and the present starts being built in France.

For this reason the iconographic method remains central to cultural enquiry. Daniels and D. Cosgrove, , p. Cosgrove and Daniels Cosgrove: The Protestant North of Europe, impeded the production of images of Saints or Biblical themes and developed new themes in painting such as the description of daily life, still life and landscape.

Given the economic increase of Flanders, the painting production develops and sells, spreading across Europe. Italy, that never stopped the producing art despite the center of the Artistic World being now in France, follows the Nordic painters and produces views of the commercial ports like Venice, in the so called Vedutte Canaletto and Francesco Guardi In England Edward Norgate describes this new genre of painting: We must consider this relation with landscape also a novelty.

A new relationship is established between the artist and his surroundings, between man and nature, and most of all, in-between man and nature - the ruins. Nothing more in Art or Nature affording so great variety and beautie as beholding the farre distant Mountaines are strange situation of ancient Castles mounted on almost inaccessible Rocks … after you have past La Tour du Pinmany are to be seen and in all probably built by the ancient Romans, and in some places with precipices … about the Alps ….

In this passage we can see the spirit of the times, the pre-romantic interest in wild nature, precipices and allusion to the passing of the Alps so common in the Grand Tour.

Avebury represented in a Picturesque manner. The drawings were made by Phillip Crocker. England case Study The drawings of antiquaries forerunners of archaeologists with picturesque influence, as relevant examples for the present study, are produced from the 18th century. Nevertheless there are English archaeological drawings dating back to the 14th century the oldest known drawing is a medieval Stonehenge manuscript which depicts the Chronicle of Geoffrey de Monmouth , and some occasion productions during the 15th and 16th centuries.

Politico-Religious Aspects We have seen how the protestant religion shaped the perception of the world and allowed the rise of a new relation with the Real — impeded of representations of Saints and Biblical Scenes, protestant Europe directs her attention to Common life scenes, interiors, and landscapes. The attention is paid to social relations and the relation between man and nature. Religion also conditioned other aspects of life, like travelling to the continent.

Young catholic men had to go to Italy to study as they were not accepted in the New English protestant universities. Socio-Cultural Aspects This century saw a social revolution in terms of growth of the educated middle-class, and an increase of the availability of leisure along with self-consciousness about the acquisition of culture.

Illustrated books contributed enormously to the democratisation and propagation of knowledge now accessible to more than a fortunate aristocratic elite. The scientific revolution and the creation of societies promoted the rise of the level of culture, and the printed book contributed as a means of communication.

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The invention of the Picturesque was the English contribution to the History of Taste. This moment of increasing publications relating to Landscape description prepared the grounds to the following German cultural contribution: Portuguese Case Study Brief comparative introduction Portuguese Sensibility in the 18th century was far removed from the English reality.

The relation with Nature, Heritage and History was marked by the catholic religion. IV, p. In cultural and scientific terms, the relation with the overseas in the 18th century was promoting the development of Natural Sciences, but less to the fine Arts. Minor Arts like drawing and engraving were progressing well as a support in the service of Industry, but an Art Academy would only come into being in It is worth looking at some of these images, published in the extraordinary book of Miguel Faria Faria: William Stukeley drawing antiquities in England, and a Portuguese draughtsman in a scientific expedition in Brazil.

Details from the images below. These first humanists still did not feel the need for drawing. Still another humanist was Amador de Arraes, who writes in , Dialogos: Gloria e Triunpho dos Lusitanos [Dialogs: Glory and Triumph of the Lusitanians]. Only Jeronimo contador de Argote, in, seems to be among the first concerned with drawing as a means of Objective communication, registering the Fragas de Panoias [inscriptions of Panoias] near Vila Real.

Archaeology It is finally in the 19th century that Archaeology began to be practiced straight as a scientific discipline without passing through the typically fantasist antiquarian interpretations. When the Portuguese start in the s and s doing archaeology they use the methodology in use in the rest of Europe, and this aspect concerns drawing as well.

All this activity culminated with the IX International Conference of Anthropology and Archaeology in , where the Portuguese Archaeologist received compliments from the international community for the excellence of their work. IX International Conference of Anthropology and Archaeology in , the menu of one of their meals, a publication defended on the conference and a Photograph of the participants.

And picturesque characteristics in those registers are difficult to find. We can only point out some early Portuguese archaeological drawings with picturesque elements and description of the surrounding elements in very few and localized examples.

Analysing the first drawings of Megaliths in Portugal we can observe that the approach is a scientific one there are no antiquarian aspirations or fantastic intentions of justifying their origin.

For instance, we do not see any scale in some of them, or the plan of the monument, making the drawing work as a aide-memoire, a reminder, a snapshot, neither scientific nor picturesque, simply a drawing in perspective. Then, we have variations of this kind of drawing, with a figure, or without one, with some background, or just some bushes reminding us that the Megalith is not floating, put grounded on earth. The influence of Photography in Archaeological Illustration is another subject that merits further work on a later occasion.

Megaliths seen in perspective, apparently traced from photographs. The first is from Carlos Ribeiro In Ribeiro: These publications start appearing in Portugal after the Liberal revolution of , and are all followers of the O Panorama, with its first number in print from Archivo Pitturesco nr. So what conditions made possible those manifestations? What made viable the attitude of O Panorama? And why did nothing happen before that period?

The period in focus now is the late 18th and early 19th century in Portugal, in order to observe what allowed this new attitude and why it had such a delay, using this chapter as a background to complete the next one, of the Iconographical Analysis itself.

Allegory to the King D. Joao V and to the creation of the Mattoso: As an absolutist King, D. Joao V reigned wanted to be like King Louis XIV, using a politics of prestige, investing in his image and luxury in general, basically supporting all expenses with money from the gold mines found in Brazil.

Nevertheless, in order to maintain his power he undertook a number of condemnable acts like public executions, of presumable innocents to demonstrate authority. A polemic figure, this marquis was the only politician who did not abandon Lisbon after the Earthquake and Tsunami of the 1st November of He ordered the demolition and coordinated the reconstruction of downtown Lisbon, today still in his style, using a orthogonal plan, with roundabouts and squares, symbols of his own centralism and rationalism.

Religion Catholicism was the main religion in Portugal since its formation in the 12th century. After the Trent Council Portugal became connected to all the other countries of the South of Europe that get connected to Catholicism of the Reformation. Religion influenced Portuguese mentality in many aspects.

It was used to colonize Africa and Brazil and it legitimised court agendas. The religious class had almost as much power as the king, and was responsible for the education until the rationalism of Marquis of Pombal ended the Order of Jesus, and appropriated all its material goods. When the Academy of fine Arts was created in , it would occupy the Convent of S. Francisco of Lisbon where it is until today along with the Faculty of Fine Arts of Lisbon because it was in that place that the works of Art and Books that the Marquis confiscated from the disbanded convents were deposited.

Concerning heritage in general, the Church itself made sure to attribute religious meaning to many unexplained things. Catarina Oliveira Oliveira: Further evidence of the influence of the Church in the cultural sector is the fact that the first antiquarians, and learned men in Portugal were priests Fr.

Manuel de Brito, and the P. Luis de Sousa, who wrote the first history of the Batalha Church, after what John Pitt, and after him James Murphy in , surveyed, measured and drew the whole monument to take back to England as an inspiration for the Neo-gothic architecture. Prehistoric cave converted into a shrine.

The caption of this image sent to the first magazine dedicated solely to Archaeology O Arqueologo Portugues —[Portuguese Archaeologist: Religious themes in Painting dominated most of the production, followed by portraiture.

In relation to Identity, religion played a role.

On the one hand, the Portuguese based in historical fonts understand that there was a local culture before the arrival of the Romans in the Iberian Peninsula. They than understand that they belong to a geographic area the Romans called Iberia. For this reason Portuguese saw themselves as an Empire greater than Antiquity. With the Enlightenment the character of civilizations began to be seen as possible to change and evolve.

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Religious inevitability was no longer a sufficient explanation to events, and the Portuguese thinkers got aware of this. The second ones prevailed. An idealism will come back with time, some decades later, but for now only the decadence makes the predominant characteristic of the dominant cultures of the 19th and early 20th century Portugal.

Socio-Cultural Aspects The most important characteristic of 19th century Portugal, is the development in the education. In Portugal, universities existed since the 12th century but for a period longer than necessary they were very scholastic, and less modern. In the 19th century great reforms in the educational sector occurred. In the 18th century, mass culture or the general instruction of culture is practically absent.

The state is organized around the King and in terms of artistic education for instance, D. Unfortunately, the break in the relationship with Rome in , meant that grant students were repatriated.

Only in the end of the 18th century did drawing classes start to form. The fact that engraving workshops were widespread all, in the service of the newly illustrated books with application to the Industry and Sciences hardly requires a mention. Notice how the teaching of Fine Arts changes in the 19th century. Pedro V ran away to Brazil and his younger brother D. Miguel stays, being nominated king in Before that there is a small revolution with some efforts in changing matters in Portuguese education.

Miguel terminated those initiatives. In the beginning people thought they could be liberal and take care of themselves, because the king ran away, but the crown, to preserve herself, puts D. Miguel, who had Absolutist tendencies, in charge. People in general, facing all these invasions, became nationalist. The king took advantage of this, performing some public executions and other injustices to demonstrate power. The liberal wins, and from this moment on Fine Arts are favoured.

In the first number of O Panorama came off the press, an illustrated magazine with the aim of democratising culture. However, in the beginning, the program for Fine Arts was rather old fashioned, extremely marked by the French neo-classicist influence comprised copying from models instead of promoting new creations. The academy was obliged to show publicly its art productions in order to inform the general public and acquire possible patronage. The first exhibition was in , and in Mestre Fonseca exposed his great History painting Eneias saving his father Anquises from the Trojan Fire.

This painting shows the state of art in Portugal. Painting neoclassic period: Some years later Both would be charged to teach Landscape Painting in the academy.

Both paintings from the Museu Nacional de Arte Contemporanea. Jean Pillement was an important painter of picturesque landscape in Portugal, but because he was French, not Portuguese, and he is very well documented in Faria and in Saldanha, he has been omitted from this dissertation. Museu Nacional de Arte Antiga, Lisbon. Given these circumstances we can understand why the picturesque did not have manifestation in Portugal before: A tipical Portuguese costumes painting of a fisherman, by Columbano Bordallo Pinheiro.

And it should be just like that, because this century is popular. The 19th century in Portugal therefore saw a new situation, where through the printed press one could be in touch with what was happening in the rest of the world and the country. Summary This Chapter gave the Historical Context of the Concepts involved in the problem of the present study: We have seen also the Political, Religious, Social and Cultural characteristics in England and Portugal during the 18th and 19th centuries which will bring us to work in the next Chapter.

The method consists of assessing an image according to Three different levels of meaning, whereas the first two levels the pre-iconographical and iconographical are phenomenal and can almost provide consensual recognition, and a third level iconological interpretation that dissect intrinsic meaning is beyond the sphere of conscious volition. The third level in particular allows and promotes an exciting interdisciplinary approach. Panofsky summarized his Methodology in a chart, shown below.

Object of analysis Action Background of Controller analyser 1. The knowledge required to do this analysis is the natural recognition of objects and events, and having notions of the history of the styles, i. Objects and Events: Architecture, Landscape and Human Figure In our case, we can identify an open space a landscape where some architectural elements exist. This architecture element is apparently half destroyed.

Some human figures situate themselves in this space, sometimes staring at the piece of architecture, sometimes pointing to the building, sometimes wondering around, but generally with the back towards the viewer.

This viewer facing the landscape is one of the subjects represented in romantic art. In terms of expression, the picture analysed is produced in wood engraving. Wood engraving is well known as being suitable for publications with large circulation, like magazines or newspapers due to its compatibility with the text types.

Technically, the artist would first do a sketch in the field, then would give it to the engraver who would make the matrix and the print of multiple copies.

It might also be in copper plate etching, namely made from photography. It is identifiable when an image is made from life or from a photograph. In the second case we see almost no expression or error. In term of styles we see a naturalistic representation, making use of perspective, and realism in representation.

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Iconographical analysis Iconographical analysis consists of a study of the secondary conventional subject matter, and the knowledge required is an acquaintance with literary sources of themes, concepts and allegories and with the History of types, i. Themes, Concepts, Allegories — Monuments, Picturesque and Antiquarians The theme of Ruins on a Landscape was used before this image was made in the 19th century. The man, in similar previous images made in previous time in other countries, ought to represent an antiquarian, or someone interested in the Past, and the destroyed building is a monument, a material evidence of that Past.

A man in the middle of the land in this context could have no other meaning than being someone who voluntarily goes to these places to enjoy the feelings transmitted by this scenario. Typical Image of Picturesque Ruins on a Landscape.

The one on the left was made by an English military engineer In Sloan: Nogueira da Silva after a Sketch of Freire Pimentel,.

In Archivo Pitturesco, In our archetypal images from 19th century Portuguese publications are made with the purpose of transmitting the concept of a person instructing herself with the Monuments, as the following passage demonstrates: Quill and Burin will give hands in this patriotic commitment.

These natural features could be found easily in English landscape, but in the archetypical image in analysis, the surrounding landscape is not always picturesque. The reason for that is that most Portuguese landscape is flat and anti-picturesque.

In one of these illustrated publications O Panorama, there is a clear reference to the fact that Portuguese landscape is mostly anti-picturesque, but with some exceptions in the Region of the North and in Sintra. Examples of a picturesque left and a non picturesque right landscape. In Knight: The Landscape, a didactic poem, Three images demonstrating an awareness of the Picturesque Romantic principles.

The first in an image of Sintra In Gordon Thomas: Para o conseguir Claude Lorrain landscapes were also in the genesis of the concept of picturesque image, for being so perfect in combining the picturesque characteristics. Curiously, there was a device: The theme of landscape is seen in painting since the 17th century Flanders, but in Portugal it arrived only in a complete way, years later, and it is possible that the art of sketching the Landscape and Ruins has been introduced by the influence of the English Military and English Travellers that passed through this country: The artist in like manner may enrich his portfolio by the endless and varied scene of woodland and mountains, interspersed with convents, ruined fortresses, or the white cottages of the peasantry, opening to his view at every step.

With such a field for the pencil before them, it is strange the Portuguese have not taken advantage of it. Egerton, military Library, , p. This passage shows the indifference of the general Portuguese towards landscape.

But in Panorama, we see the recognition of the difference between a natural and a designed garden, and the importance of making the second look like the former. This is a proof of the acquaintance of Portuguese with the British contribution to the concept of Picturesque that could have manifestations in Garden Design, and in an attitude towards landscape in general. Many recognize today that the Beauty of a Garden resides not in the regular and monotonous green walls, but rather enjoy the delicious hours in the shadows of trees by clear water lines in the countryside, and compare it with the monotonous and not pleasent sensation of walking in a simetric garden.

Iconological Interpretation The third and most arguable level of interpretation is iconological.

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At this deepest level, the intrinsic meaning or content of the work is apprehended. It is worth quoting Panofsky directly here as he explains this intrinsic meaning. Synthetic intuition — Political use of Landscape Illustration No image is produced innocently in a vacuum.

The interest in the Past, especially a non-classic past is something dated as being later than the renaissance when the interest in Roman ruins starts receiving systematic study.

In this sense, our imaginary image represents an awakening, a taking of conscience of identity, most certainly provoked by recent political happenings like the French invasions that made Portuguese realize they had something of their own, with which they identified themselves. The pleasure deriving from observing the degraded buildings could be perceived here as a narcissistic self-examination, where the ruins whisper to the little observer: Broken, gone, of no use anymore.

And as a decadent generation that they were, they enjoyed that feeling. History of Symbols The Ruin as a symbol became a cult image per se. Sometimes the primary reason of attraction for the ruin based on the first humanist movement in Rome was forgotten, as it was renewed through time.

The Ruin addressed by the Picturesque pursuers turned itself into a fashionable accessory when transformed in a decorative feature in garden. What about the Ruin in the context of Portuguese Illustrations? Well, the Ruin that conquers the cultural network by filling the pages of Illustrated Magazines, symbolizes progress, symbolizes the reaching of a stage in consonance to the rest of Europe indeed.

To start looking as the Flemish did in the 17th century to the new reality means accepting a new Era where society had to produce richness, industry, capital, and compete with the rest of Europe in the run for the 20th century.

If the Memento Mori and Vanitas said: One day you will also be in Ruins but rush now! It is time to look forward and not backwards. Ruins on a Landscape as a Memento Mori: Archivo Pitturesco, It worked like a protective shield in positive and negative ways, because on the one hand it protected people from the anxiety of having to understand their origins, but on the other it also impeded intellectual progress to get through.

The focus of this study is on Academic Artistic education only. Concerning universities, Portugal some of the oldest in Europe — even though devoted to other areas of knowledge.

Socially and culturally, the country was not prepared to receive notions of taste, because that is something that takes time to be interiorised and applied. When the liberty of expression namely in Journalism begins to have space, after the triumph of Liberalism, some people began to demonstrate their concern in growing intellectually to reach the cultural level of the rest of Europe. In fact the role played by these periodicals diffusing ideas and taste was inestimable. They promoted all kinds of knowledge, but the most interesting for the present study is that they promoted a taste for the Picturesque travel, Picturesque landscape, and History.

The following passage in Panorama shows us the modernity of their editorial politics, concerned in the production of a speech easily understood by the public: The solution to this problem can be found in the literary History of Europe in the last few years.

O Panorama nr1, pp. Seen from this viewpoint, one can say the picturesque was among the two other categories of taste beautiful and the sublime the most democratic of all, because it found expression in all parts of society painting, writing, travel, gardening and these are activities accessible to everyone.

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Finally the question of national identity: Until this moment, Portugal only knew what was to draw a landscape and costumes in the foreign lands of Brazil and Africa.

The notion of Travel, as well, was for the Portuguese a long journey to curious and exotic lands, and of course, generally by Sea. Viriato, the Iron Age hero with is right arm oddly pointed forwards. This improvement proved to be possible and seemed to have worked. They are images produced by and for a society of information, and circulate in the Media.

Illustrated magazines were therefore for the 19th century society what television was for the 20th or internet for the 21st centuries. General Criticism and Proposition of a cause and effect phenomenon If in the one hand, a brand new and unexplored world of Heritage was being revealed and exposed in 19th century Portugal an awakening towards the Historical Sites as catalyser of a sense of lost, of decay of self knowledge as well as an aesthetic stream in consonance with the rest of Europe by the hand of Ruin painters and travellers in search of the Picturesque on the other hand the addressing of Prehistory in Portugal stays within the boundaries of Archaeology and Geology, restricted to a less informed layer of the society.

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The divorce so lucidly noticed by the Comte de Caylus in the 18th century, between Art Aesthetics and Antiquity History put into practice by the Archaeologists that derived from the Antiquaries Chapter 3 led in long terms to a loss of humanism. However we see in the 21st century a return to transdisciplinary studies.

In the context of the present study specifically, the divorce between Art and Archaeology is well shown in the fact that the interest towards antiquity in Portugal is made since the beginning by Engineers and Geologists — technical, scientific and objective, far from having an Aesthetic Education. That leads us to the belief that the Archaeologists were probably unaware of the larger movement around the picturesque and the Romantism, or at least they were not consciously aware of the coincidence with their motivations.

Their interest in the Past or in a National Identity, or in a search for their Origins was not so urgent perhaps as the impulse that happened in the 18th century British Druid Revival Stukeley with antiquarian theories, mystical and pseudo religious or the German Gothic Revival or the French search for the Galois.

In Portugal, Viriato, a figure presented as a pre-historic hero, only appears almost the 20th century. It is curious how he is represented in a statue, almost making a National- Socialist salute. Future work It was impossible to do justice to all the archaeological illustrations produced under the Aesthetic of the Picturesque, but this study aims to have contribute to unveiling a field that merits further investigation.

Even more urgent would be this survey in Iberia, relating the History of Archaeological Illustration in Portugal, with our neighbour Spain, following the study of Alicia Canto Canto: The Weekly Illustrated Magazines Semanarios Illustrados could again be a good primary source from where a number of examples can be divulged.

Augusto C. Table 2 Antiquarian Studies and Archaeological Illustration: Patrimoine , The Antiquarian in Plein Air: The regime.

British Landscape through the Ages. Arqueologia Essays on Antiquarianism. Ancient Britain and the Romantic Imagination.

O desenho na Archeologie: Le ArqueologiA.

Fernanda, , cuite. A Handbook. Notes on the poem — Explanation of the Prints. A Didactic Poem. Studies in a Sec.

Point of View. Romanticism and the aesthetics of Individuation. Construction and Representation. Estrangeiros que estiveram em Portugal. Al, , Enlightenment: Discovering the Joanni V Magnifico: Table 5 Travel: Primary Sources Comparative Bibliography: Abbey Vol. I — World, Europe, Africa. Centaur Press Guerra Civil de BC ; VG Lisboa: A Corte da Rainha D. Maria London, printed for T. Egerton, military Library.

Luis de Sousa ; with remarks to which is prefixed an introductory discourse on the principles of Gothic architecture. Officina de Francisco Borges de Sousa, Table 6 Travel: Secondary Sources Comparative Bibliography: Abbreviations for the Shelf Marks I thought it could be useful to provide the shelf marks of the books consulted, to ease further consulting of those titles.

These are the abbreviations of the Libraries and Archives where I consulted the books. Buckley; J. Tonson BL. Tempus Publishing, Ltd.

Critical Terms for Art History Chicago: Constructing Images of the Past London: Sutton Publishing. Printed for R. Dodsley, in Pall Mall. Romanticism and the aesthetics of Individuation New York: Notes on the poem — Explanation of the Prints London: Blamire BL: A Handbook London: Simpson, Wiltshire: Current Approaches to Interpretation in Archaeology Cambridge: Anderson et al ed , Enlightening the British: Knowledge, Discovery and the Museum in the Eighteenth Century, pp.

Art and Memory in World Cultures London: English Heritage. The iconography of Human Origins Stroud: Sutton Publishing Ltd. Archaeology and the Image London: The British Landscape through the Ages London: Essays on Antiquarianism Edinburgh: Printed for J. Robson BL: Discovering the World in the Eighteenth Century London: Ancient Britain and the Romantic Imagination London: Printed for W. Innys and R. Manby, at the West End of St.Ruins on a Landscape as a Memento Mori: The reason for that is that most Portuguese landscape is flat and anti-picturesque.

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